AES Milan 2018
Sound Reinforcement Track Event Details
Wednesday, May 23, 09:30 — 11:00 (Scala 1)
Tutorial: T02 - Reusing and Prototyping to Accelerate Innovation in Audio Signal Processing
Presenters:Gabriele Bunkheila, MathWorks - Cambridge, UK
Jonas Rutstrom, MathWorks - Sollentuna, Sweden
Voice assistants are shifting consumer expectations on performance and capabilities of audio devices and human-machine interfaces. As new products are driven to deliver increasingly complex features, successful manufacturers and IP providers need to reuse more design assets, deliver original innovation more efficiently, and prototype more quickly than ever before. In this session you will learn about different techniques to integrate existing code and IP into early simulations of algorithms and system designs, ranging from embeddable code to cloud-based services. You will also be exposed to quick prototyping workflows, including methods for running in real-time and validating ideas on live real-world signals. The presentation will go through practical worked examples using MATLAB, while discussing some early-stage challenges in the design of voice-driven connected devices.
Wednesday, May 23, 10:15 — 11:15 (Scala 3)
Tutorial: T03 - Perceptually Motivated Filter Design with Applications to Loudspeaker-Room Equalization
Presenter:Balázs Bank, Budapest University of Technology and Economics - Budapest, Hungary
Digital filters are often used to model or equalize acoustic or electroacoustic transfer functions. Applications include headphone, loudspeaker, and room equalization, or modeling the radiation of musical instruments for sound synthesis. As the final judge of quality is the human ear, filter design should take into account the quasi-logarithmic frequency resolution of the auditory system. This tutorial presents various approaches for achieving this goal, including warped FIR and IIR, Kautz, and fixed-pole parallel filters, and discusses their differences and similarities. It also shows their relation to fractional-octave smoothing, a method used for displaying transfer functions. With a better allocation of frequency resolution, these methods require a significantly lower computational power compared to straightforward FIR and IIR designs at a given sound quality.
This session is presented in association with the AES Technical Committee on Loudspeakers and Headphones and AES Technical Committee on Signal Processing |
Wednesday, May 23, 14:15 — 16:15 (Scala 1)
Tutorial: T05 - Tune Your Studio-Acoustic Analysis of Small Rooms for Music
Presenter:Lorenzo Rizzi, Suono e Vita - Acoustic Engineering - Lecco, Italy
The tutorial will talk about acoustic quality issues in small rooms for music. Focusing on internal acoustic quality (time response, frequency response, acoustic parameters) it will be rich in practical examples, useful for sound engineers, musicians and acousticians to focus on the small-room issues.
Wednesday, May 23, 16:30 — 18:00 (Scala 1)
Tutorial: T07 - Benefiting from New Loudspeaker Standards
Presenter:Wolfgang Klippel, Klippel GmbH - Dresden, Germany
This tutorial focuses on the development of new IEC standards, addressing conventional and modern measurement techniques applicable to all kinds of transducers, active and passive loudspeakers and other sound reproduction systems. The first proposed standard (IEC 60268-21) describes important acoustical measurements for evaluating the generated sound field and signal distortion. The second standard (IEC 60268-22) is dedicated to the measurement of electrical and mechanical state variables (e.g. displacement), the identification of lumped and distributed parameters (e.g. T/S) and long-term testing to assess power handling, thermal capabilities, product reliability and climate impact. The third standard(IEC 63034) addresses the particularities of micro-speakers used in mobile and other personal audio devices. The tutorial gives a deeper insight into the background, theory and practical know-how behind those standards.
This session is presented in association with the AES Technical Committee on Loudspeakers and Headphones |
Wednesday, May 23, 16:30 — 17:30 (Scala 2)
Tutorial: T09 - AES67 & ST2110 - An Overview
Presenter:Andreas Hildebrand, ALC NetworX GmbH - Munich, Germany
In September 2017, the new ST2110 standard on "Professional Media over
Managed IP Networks" was published by SMPTE. What is ST2110 covering, how does it relate to AES67, and what is the practical impact to the audio industry? This tutorial describes the basic principles and the commonalities and differences of ST2110 & AES67 differences, and eludes on the constraints defined in ST2110 with respect to AES67. It also includes a brief outlook on how transport of non-linear audio formats (AES3) will be defined in ST2110.
Thursday, May 24, 10:45 — 12:15 (Scala 1)
Tutorial: T12 - Acoustic Enhancement Systems
Presenter:Ben Kok, BEN KOK - acoustic consulting - Uden, The Netherlands
Acoustic enhancement systems can be considered the ultimate in electro acoustics, as these systems influence the perceived natural acoustics of a given space. Due its complex nature-and the interaction with subjective perception-these systems often are considered mystic or even a "black art." This tutorial will focus on how subjective and objective room acoustic qualities and parameters can be influenced with use of acoustic enhancement and how this relates to the requirements and design criteria for such a system.
In the presentation it is assumed that the attendees already have a basic knowledge of auditoria acoustics and acoustic enhancement systems, or at least have read the feature on acoustic enhancement by Francis Rumsey in JAES, Vol 26, No.6, 2014 June.
This session is presented in association with the AES Technical Committee on Acoustics and Sound Reinforcement |
Thursday, May 24, 10:45 — 12:15 (Scala 3)
Tutorial: T13 - Perceptual and Physical Evaluation of Guitar Loudspeakers
Presenter:Wolfgang Klippel, Klippel GmbH - Dresden, Germany
Loudspeaker and headphones generate distortion in the reproduced sound that can be assessed by objective measurements based on a physical or perceptual model or just by a subjective evaluation performed in systematic listening tests. This tutorial gives an overview on the various techniques and discusses the way how measurement and listening can be combined by auralization techniques to give a more reliable and comprehensive picture on the quality of the sound reproduction. The separation of signal distortion in speech signals allows to assess signal distortion which are for most stimuli below the audibility threshold. Further analysis of the separated distortion signals gives clues to identify the physical root cause of loudspeaker defects which is very crucial for fixing design problems.
Thursday, May 24, 13:00 — 14:00 (Scala 2)
Workshop: W12 - AES67 Practical—A Guide on How to Setup AES67 Networks
Presenter:Andreas Hildebrand, ALC NetworX GmbH - Munich, Germany
Since the publication of the AES67 Standard on "High performance Streaming Audio-over-IP Interoperability" in September 2013, a myriad of AES67-compatible devices have been brought to market. Meanwhile, quite a few applications with AES67-compatible devices have been projected and put into operation. This session will give insight and provide tips on system planning, device and network configuration, management, and monitoring.
Thursday, May 24, 14:30 — 16:00 (Arena 3 & 4)
Workshop: W15 - Styling Your Live and Recorded Classical, Jazz, and Acoustic Ensemble Sound
Chair:Ian Corbett, Kansas City Kansas Community College - Kansas City, KS, USA; off-beat-open-hats recording & sound reinforcement
Panelists:
Margaret Luthar, Chicago Mastering Service - Chicago, IL, USA
Magdalena Piotrowska, Gdansk University of Technology - Poland; Hear Candy Mastering - Poland
Kyle P. Snyder, Ohio University, School of Media Arts & Studies - Athens, OH, USA
Venue, ensemble and performers, musical material, engineer's/producer's vision, equipment available, purpose, and logistics. All of these things influence the choices a live recording or live sound engineer makes when planning and recording or reinforcing a live concert or event. Join our panel of live event recording and sound engineers as they discuss how and why they chose the techniques they used for varied classical, jazz, and other acoustic music situations and play some of the results for you. Material and situations presented will range from entry level non-professional ensemble events to professional productions.
Thursday, May 24, 15:00 — 16:30 (Scala 1)
Workshop: W17 - Power Amplification for High Resolution Audio
Presenter:John Dawson, Jade Electronics Ltd - Cambridge, UK
Driving modern passive loudspeakers to realistic levels without audible distortion can be surprisingly demanding—more so when the source is high resolution audio. And, although the peak power levels are much lower, achieving full dynamic range with headphones can also present tricky design problems. This tutorial reviews the various types of linear amplifier—particularly classes A, AB, B, D, G and H - and examines some of the trade offs involved in designing and implementing some recent commercial designs for both speakers and headphones. A number of the author's measurements of real products—not all of them good—will be shown.
This session is presented in association with the AES Technical Committee on High Resolution Audio |
Friday, May 25, 09:30 — 11:00 (Scala 3)
Workshop: W21 - Beyond AES67, a Better and Unified Experience of the Audio Network
Presenters:Jeff Berryman, Bosch Communications - Claymont, Delaware, USA
Greg Shay, The Telos Alliance - Cleveland, OH, USA
Nicolas Sturmel, Merging Technologies - Puidoux, Switzerland
With the recent publication of the ST2110 standard, and the industry wide adoption of AES67, multi-vendor audio networks become a reality. But AES67 and ST2110 only consider transport on the network, and this is only a small portion of the many features needed to fully integrate a standard based system. This workshop will address the issue of control and monitoring of the audio network by presenting different open initiatives providing a level of unification on the network. The standardized control protocol AES70 (and especially its connection management part), the open interface specification and API for connection management NMOS and some other network oriented tools will be presented by world class experts on the matter before leaving room for a Q&A session.
This session is presented in association with the AES Technical Committee on Network Audio Systems |
Friday, May 25, 11:00 — 12:00 (Scala 3)
Workshop: W23 - AES67 in Real World Applications
Presenters:Claudio Becker-Foss, DirectOut GmbH - Mittweida, Germany
Andreas Hildebrand, ALC NetworX GmbH - Munich, Germany
Nicolas Sturmel, Merging Technologies - Puidoux, Switzerland
Since the publication of AES67 and its recent adoption by the ST 2110 media over IP standard, we see a growing number of installations and studio built around this standard. This workshop and Q&A session will focus on practical aspects of using AES67 and ST 2110-30 in the field: what are the benefits of using AES67? What are the difficulties? What should I do / not do, when configuring my network? Panelists experienced in real-world applications will provide valuable insights and share opinions on the importance of AES67 and its role as part of ST 2110 for the wider broadcast market.
This session is presented in association with the AES Technical Committee on Network Audio Systems |
Friday, May 25, 11:15 — 12:15 (Arena 3 & 4)
Special Event: SE04 - Back to the Future, a Technology Project Review: Outdoor Sound Reinforcement of Symphony and Opera for Extremely Large Audiences
Presenter:David Scheirman, Bose Professional - Carlsbad, CA USA
Serving audiences up to 200,000 persons for outdoor operatic and symphonic programs, a fully-distributed portable sound reinforcement system was deployed in public parks throughout New York City including Central Park. Supporting onstage sound from a tensile-membrane acoustical shell designed in a 36m (118 ft) wide and 21m (68 ft) high pyramid-like structure for the US $3.385M outdoor music pavilion, 24 battery-powered, digitally-delayed portable loudspeaker towers received wireless transmissions from a centrally-located mixing position to cover asymmetrical audience areas. A 24m (78 ft) wide stage area was served with only seven microphones. From 1991-95, the author led a team to deploy and operate this futuristic outdoor sound reinforcement system, pioneering innovative and advanced technologies now taken for granted. System design attributes and operating principles are detailed.
Friday, May 25, 12:00 — 13:30 (Scala 3)
Workshop: W25 - The Challenge of Loudspeaker Integration in Automotive Audio Applications
Presenter:Alfred Svobodnik, MVOID Group - Karlsruhe, Germany; Wien, Austria
The integration of loudspeakers into a vehicle, both in terms of acoustical and mechanical aspects, is a highly challenging topic. Parasitic vibrations of panels excited by the loudspeaker can lead to significant deterioration of the sound quality. Acoustical short-circuits and Helmholtz resonances are another potential source for performance degradation. This workshop aims to discuss the major challenges of automotive loudspeaker packaging and possible solutions to improve the acoustical quality.
This session is presented in association with the AES Technical Committee on Automotive Audio |
Friday, May 25, 14:30 — 16:00 (Scala 3)
Tutorial: T23 - Optimizing Transducer Design for Systems with Adaptive Nonlinear Control
Presenters:Gregor Höhne, Klippel GmbH - Dresden, Germany
Marco Raimondi, STMicroelectronics SRL - Cornaredo (MI), Italy
Modern loudspeakers increasingly incorporate digital signal processing, amplification and the transducer itself in one unit. The utilized algorithms not only comprise linear filters but adaptively control the system, deploying measured states and complex models. Systems with adaptive nonlinear control can be used to equalize, stabilize, linearize, and actively protect the transducer. Thus, more and more demands can be taken care of by digital signal processing than by pure transducer design, opening new degrees of freedom for the latter. The tutorial focuses on how this freedom can be utilized to design smaller and more efficient loudspeaker systems. Examples are given for how existing transducer designs can be altered to increase their efficiency and which new challenges arise when driving speaker design to its limits.
Friday, May 25, 16:15 — 17:45 (Scala 3)
Tutorial: T25 - Live Sound Subwoofer System Optimization
Presenter:Adam J. Hill, University of Derby - Derby, Derbyshire, UK
There is little reason this day in age to accept undesirable low-frequency sound coverage in live sound reinforcement. The theories behind subwoofer system optimization are well-known within academia and various branches of industry, although this knowledge isn't always fully-translated into practical terms for end-users. This tutorial provides a comprehensive overview of how to achieve desirable low-frequency sound coverage including: subwoofer polar response control, array and cluster configuration, signal routing/processing options, performance stage effects, source decorrelation, acoustic barriers and perceptual considerations. The tutorial is suitable for practitioners, academics and students, alike, providing practical approaches to low-frequency sound control and highlighting recent technological advancements.
This session is presented in association with the AES Technical Committee on Acoustics and Sound Reinforcement |
Saturday, May 26, 09:15 — 10:15 (Scala 2)
Tutorial: T27 - Hearing the Past: Using Acoustic Measurement Techniques and Computer Models to Study Heritage Sites
Presenter:Mariana Lopez, University of York - York, UK
The relationship between acoustics and theater performances throughout history has been an area of extensive research. However, studies on pre-seventeenth century acoustics have focused either on Greek and Roman or Elizabethan theater. The study of medieval acoustics has been centered on churches both as worship spaces and as sites of liturgical drama, leaving aside the spaces used for secular drama performances. This tutorial explores how a combination of acoustic measurement techniques adapted to challenging outdoor spaces and the use of a multiplicity of computer models to tackle the unknowns regarding heritage sites can help enhance our knowledge on how our ancestors 'heard' drama performances in connection to the acoustics of the performance spaces and the surrounding soundscapes.
This session is presented in association with the AES Technical Committee on Acoustics and Sound Reinforcement and AES Technical Committee on Archiving Restoration and Digital Libraries |
Saturday, May 26, 10:30 — 12:00 (Scala 2)
Tutorial: T28 - Intelligent Acoustic Interfaces for High-Definition 3D Audio
Presenter:Danilo Comminiello, Sapienza University of Rome - Rome, Italy
This tutorial aims at introducing a new paradigm for interpreting 3D audio in acoustic environments. Intelligent acoustic interfaces involve both sensors for data acquisition and signal processing methods with the aim of providing a high-quality 3D audio experience to a user. The tutorial explores the motivations for 3D intelligent interfaces. In that sense, the recent standardization of the MPEG-H has provided an incredible boost. Then, how to design 3D acoustic interfaces is analyzed, involving ambisonics and small arrays. Moreover, the main methodologies are introduced for the processing of recorded 3D audio signals in order to "provide intelligence" to interfaces. Here, we leverage the properties of signal processing in the quaternion domain. Finally, some examples of 3D audio applications are shown involving intelligent acoustic interfaces.
Saturday, May 26, 12:30 — 13:15 (Scala 1)
Tutorial: T29 - Icosahedral Loudspeaker Listening Session (IKO)
Presenters:Frank Schultz, University of Music and Performing Arts Graz - Graz, Austria
Franz Zotter, IEM, University of Music and Performing Arts - Graz, Austria
In this listening session we show examples of how to employ focused sound beams, played by the powerful 20-channel spherical loudspeaker array IKO. Just as with sound bars but more powerfully, its beams enables utilizing the available wall reflections as passive surround system, but there is more to it. In our artistic research project OSIL, we explored artistic and psychoacoustical subtleties of the IKO. You are going to hear that sound positioning by beamforming in a room is not restricted to distinct wall reflections but supports a whole range of intermediate and room traversing positions. Artistically, the control of beam of the IKO allows to compose sculptural effects. We will explain and listen to some of the basic effects, before listening to advanced musical compositions.
Saturday, May 26, 13:30 — 14:15 (Scala 1)
Tutorial: T30 - Surround with Depth Listening Session on IEM Loudspeaker Cubes
Presenters:Thomas Deppisch, University of Technology - Graz, Austria; University of Music and Performing Arts Graz - Graz, Austria
Matthias Frank, University of Music and Performing Arts Graz - Graz, Austria
Nils Meyer-Kahlen, University of Technology Graz - Graz, Austria; University of Music and Performaing Arts Graz
Franz Zotter, IEM, University of Music and Performing Arts - Graz, Austria
This listening event shows effects and music on a new quadraphonic surround-with-depth playback system, whose control, measurement, and design are described in our paper engineering brief at the convention. Our playback system consists of four loudspeaker cubes, each of which using four loudspeakers driven by a first-order beam control. We show how to involve reflections involved to create a stable sound image for a big audience, and how direct and first-order-reflected sound is used to get smooth surround panning (close sounds), while a set of second-order reflections permit panning to distant sounds. We will explain and play back the effects we programmed before listening to a mix of a surround-with-depth mixed song together.